DOI Page / Citation link:
https://doi.org/10.11588/diglit.841#0065
POMPEIANA.
45
into a basin, probably for his ablutions; and
a female standing near is scarcely dignified
enough for an office superior to that of his
hand-maiden, unless love has been the means
of reducing her to that condition. A fourth
figure, upon a rock above, regards the scene.
This has been called also Adonis reposing.
In the same room are many singular
borders, two of which are given in Plates
LXXII. and LXXVII.; and another pic-
ture, so much defaced that little more than
the body of a bull, or heifer, is distin-
guishable.
Under the garden portico are two pic-
tures, marked in the Plan 41 and 42, of a
very singular nature. These represent, in
all probability, dramatic scenes familiar to
every body at the time they were painted.
They are given in Plates LXXV. and
LXXVI.
From the portico X, which was sepa-
rated from the garden by rails about four
feet six inches high placed between the
columns, a door opened to two apartments,
Y and Z, the first of which was evidently
45
into a basin, probably for his ablutions; and
a female standing near is scarcely dignified
enough for an office superior to that of his
hand-maiden, unless love has been the means
of reducing her to that condition. A fourth
figure, upon a rock above, regards the scene.
This has been called also Adonis reposing.
In the same room are many singular
borders, two of which are given in Plates
LXXII. and LXXVII.; and another pic-
ture, so much defaced that little more than
the body of a bull, or heifer, is distin-
guishable.
Under the garden portico are two pic-
tures, marked in the Plan 41 and 42, of a
very singular nature. These represent, in
all probability, dramatic scenes familiar to
every body at the time they were painted.
They are given in Plates LXXV. and
LXXVI.
From the portico X, which was sepa-
rated from the garden by rails about four
feet six inches high placed between the
columns, a door opened to two apartments,
Y and Z, the first of which was evidently